Memento (film)

Memento is a 2000 American neo-noir psychological thriller film written and directed by Christopher Nolan, based on the short story "Memento Mori" by his brother Jonathan Nolan, which was later published in 2001. The film stars Guy Pearce, Carrie-Anne Moss, and Joe Pantoliano. The film follows Leonard Shelby (Pearce), a man who suffers from anterograde amnesia—resulting in short-term memory loss and the inability to form new memories—who uses an elaborate system of photographs, handwritten notes, and tattoos in an attempt to uncover the perpetrator who killed his wife and caused him to sustain the condition.

The film's non-linear narrative is presented as two different sequences of scenes interspersed during the film: a series in black-and-white that is shown chronologically, and a series of color sequences shown in reverse order (simulating for the audience the mental state of the protagonist). The two sequences meet at the end of the film, producing one complete and cohesive narrative.

Memento premiered at the Venice Film Festival on September 5, 2000, and was theatrically released in the United States on March 16, 2001. It was acclaimed by critics, who praised its nonlinear structure and themes of memory, perception, grief, and self-deception. It was also a commercial success, earning $40 million over its $9 million budget and gained a cult following. Memento received many accolades, including the Waldo Salt Screenwriting Award at the Sundance Film Festival, and Academy Award nominations for Best Original Screenplay and Best Film Editing. In 2017, the United States Library of Congress deemed the film "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry.

The film starts with a Polaroid photograph of a dead man. As the sequence plays backward, the photo reverts to its undeveloped state, entering the camera before the man is shot in the head. The film then continues, alternating between black-and-white and color sequences.

The black-and-white sequences begin with Leonard Shelby, a former insurance investigator, in a motel room speaking to an unseen and unknown caller. Leonard has anterograde amnesia and is unable to store recent memories, the result of an attack by two men. Leonard explains that he killed the attacker who raped and strangled his wife Catherine, but a second clubbed him and escaped. The police did not accept that there was a second attacker, but Leonard believes the attacker's name is "John G" or "James G". Leonard investigates using notes, Polaroid photos, and tattoos to keep track of the information he discovers. Leonard recalls Sammy Jankis, another anterograde amnesiac, from his insurance industry days. After tests confirmed Sammy's inability to learn tasks through repetition, Leonard believed that his condition was at best psychological and turned down his insurance claim. Sammy's distraught wife repeatedly asked Sammy to administer her insulin shots for her diabetes, hoping he would remember having recently given her a shot and avoid giving her a fatal overdose. However, Sammy administered each injection, and his wife died.

The color sequences are shown reverse-chronologically. In the story's chronology, Leonard self-directively gets a tattoo of John G's license plate. Finding a note in his clothes, he meets Natalie, a bartender who resents Leonard because he wears the clothes and drives the car of her boyfriend, Jimmy Grantz. After understanding Leonard's condition, she uses it to get Leonard to drive a man named Dodd out of town and offers to run the license plate as a favor through the Department of Motor Vehicle's database. Meanwhile, Leonard meets with a contact, Teddy, who helps with Dodd, but warns about Natalie. Leonard finds that he had previously annotated his Polaroid of Teddy, warning himself not to trust Teddy. Natalie provides Leonard with the driver's license for a John Edward Gammell, Teddy's full name. Confirming Leonard's information on "John G" and his warnings, Leonard drives Teddy to an abandoned building, leading to the opening where he shoots him.

In the final black-and-white sequence, prompted by the caller, Leonard meets with Teddy, an undercover officer, who has found Leonard's "John G", Jimmy, and directs Leonard to the abandoned building. When Jimmy arrives, Leonard strangles him fatally and takes a Polaroid photo of the body. As the photo develops, the black-and-white transitions to the final color sequence. Leonard swaps clothes with Jimmy, hearing him whisper "Sammy". As Leonard has only told Sammy's story to those he has met, he suddenly doubts Jimmy's role in his wife's murder. Teddy arrives and asserts that Jimmy was John G, but when Leonard is undeterred, Teddy reveals that he helped him kill the real attacker a year ago, and Teddy has been using Leonard ever since. Teddy points out that since the name "John G" is common, Leonard will cyclically forget and begin his search again and that even Teddy himself has a "John G" name. Further, Teddy reveals that Sammy's story is Leonard's own story, a memory Leonard has repressed to escape feelings of guilt.

After hearing Teddy confess all of this, Leonard burns the photograph of the dead Jimmy and the photo of himself right after killing the real attacker a year ago, pointing to his chest where he would get a tattoo to document his successful revenge. In a monologue, Leonard explains that he is willing to lie to himself in order to get justice against anyone who has wronged him. He, therefore, targets Teddy by ordering a tattoo of Teddy's license plate number and writing a note to himself that Teddy is not to be trusted so that he will mistake Teddy for John G and kill him. Leonard drives off in Jimmy's car, confident that, despite this lie, he will retain enough awareness of the world to know that his actions have consequences.

The film is structured with two timelines: color sequences are alternated with black-and-white sequences. The latter are put together in chronological order. The color ones, though shown forward (except for the first one, which is shown in reverse), are ordered in reverse. Chronologically, the black-and-white sequences come first, the color sequences come next.

Using the numbering scheme suggested by Andy Klein—who took numbers from 1 to 22 for the black-and-white sequences and letters A–V for the color ones in his article for Salon magazine—the plotting of the film as presented is: Opening Credits (shown "backward"), 1, V, 2, U, 3, T, 4, S, ..., 22/A, Credits.

There is a smooth transition from the black-and-white sequence 22 to color sequence A, which occurs during the development of a Polaroid photograph.

The chronological order of the story can be viewed as a "hidden feature" on the 2-Disc Limited Edition Region 1 DVD and the 3-Disc special Edition Region 2 DVD. In this special feature, the chapters of the film are put together into the chronological order and is shown: Ending Credits (run in reverse), 1, 2, 3, ..., 22/A, B, ..., V, then the opening title runs "backward" to what was shown (the opening title sequence is run in reverse during the actual film, so it is shown forward in this version).

Stefano Ghislotti wrote an article in Film Anthology which discusses how Nolan provides the viewer with the clues necessary to decode the plot as we watch and help us understand the chronology. The color sequences include a brief overlap to help clue the audience into the fact that they are being presented in reverse order. The purpose of the fragmented reverse sequencing is to force the audience into a sympathetic experience of Leonard's defective ability to create new long-term memories, where prior events are not recalled, since the audience has yet to see them.

In July 1996, brothers Christopher and Jonathan Nolan took a cross-country road trip from Chicago to Los Angeles, as Christopher was relocating his home to the West Coast. During the drive, Jonathan pitched the story for the film to his brother, who responded enthusiastically to the idea. After they arrived in Los Angeles, Jonathan left for Washington, D.C., to finish college at Georgetown University. The mysterious killer character known only as "John G." was actually an homage to Jonathan's Georgetown University screenwriting professor at the time, John Glavin. Christopher repeatedly asked Jonathan to send him a first draft, and after a few months, Jonathan complied. Two months later, Christopher came up with the idea to tell the film backwards, and began to work on the screenplay. Jonathan wrote the short story simultaneously, and the brothers continued to correspond, sending each other subsequent revisions of their respective works. Christopher initially wrote the script as a linear story, and then would "go back and reorder it the way it is on screen to check the logic of it." Nolan was also influenced by the short story "Funes the Memorious" by Jorge Luis Borges. "I think Memento is a strange cousin to 'Funes the Memorious'—about a man who remembers everything, who can't forget anything. It's a bit of an inversion of that."

Jonathan's short story, titled "Memento Mori", is radically different from Christopher's film, although it maintains the same essential elements. In Jonathan's version, Leonard is instead named Earl and is a patient at a mental institution. As in the film, his wife was killed by an anonymous man, and during the attack on his wife, Earl lost his ability to create new long-term memories. Like Leonard, Earl leaves notes to himself and has tattoos with information about the killer. However, in the short story, Earl convinces himself through his own written notes to escape the mental institution and murder his wife's killer. Unlike the film, there is no ambiguity that Earl finds and kills the anonymous man.

In July 1997, Christopher Nolan's girlfriend (later wife) Emma Thomas showed his screenplay to Aaron Ryder, an executive for Newmarket Films. Ryder said the script was, "perhaps the most innovative script I had ever seen", and soon after, it was optioned by Newmarket and given a budget of $4.5 million. Pre-production lasted seven weeks, during which the main shooting location changed from Montreal, Quebec to Los Angeles, California, to create a more realistic and noirish atmosphere for the film.